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2001 collection of modern guitar-based Blues including cuts from legends such as Muddy Waters, Freddy King, Bobby Bland, and John Lee Hooker, along with recent Blues stars like Stevie Ray Vaughan and his followers Kenny Wayne Shepherd and Jonny Lang.
A good introduction to modern guitar-based blues, Pure Blues features classics by Muddy Waters, Freddy King, Bobby Bland, and John Lee Hooker, along with recent blues stars like Stevie Ray Vaughan and his followers Kenny Wayne Shepherd and Jonny Lang. While attributing classic status to Susan Tedeschi's "Just Won't Burn" may chafe some purists, this comp clearly wasn't intended for the die-hard blues fanatic. But as an introduction, it illustrates the blues tradition and its influence on rock (and rock's influence on the blues) quite nicely. For fans of the Allman Brothers (whose version of Blind Willie McTell's classic "Statesboro Blues" is included) or Eric Clapton's work with Derek & the Dominos or for dad at Christmas, this would make a good gift. Also, if this manages to inspire anyone to pick up Etta James's classic Tell Mama set, the folks at UTV will have done the world a service. --Mike Johnson
|When the Levee Breaks: Mississippi Blues Rare Cuts 1926-41
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The majority of the music on these discs was made as much as eighty years ago. Some tolerance should be exercised when hearing what are sometimes the only copies of records close to mythical status. An example is Son House's 'Mississippi County Farm Blues', recorded in May 1930. This and 'Clarksdale Moan' were known to have been released but only recently has a copy -luckily in reasonable condition - been found. These titles, along with an unmastered version of 'Walkin' Blues' made an eloquent connection between House and Robert Johnson, are among the building blocks of blues. When Mississippi blues is mentioned, it's usually associated with the Delta, with its supposed prevalence of slide or bottleneck guitar. In reality, this was but one of many Mississippi styles. At least as prevalent was the rhythm-based approach favored by musicians from the eastern hill country. These men infiltrated the Delta - gifted individuals like Richard 'Hacksaw' Harney, heard behind Walter Rhodes and Mississippi John Hurt. Most of these musicians were undocumented itinerants, whose arrival in front of a microphone was often a matter of chance. Some of the earliest to get their chance included Freddie Spruell and Sam Butler. Spruell grew up in Chicago, but even so, he's regarded as a Mississippi bluesman not least for his recording of 'Low-Down Mississippi Bottom Man'. Sam Butler - also known as Bo Weavil Jackson - may have been from Alabama but he too is an honorary Mississippian. He cut sessions for Paramount and Vocalion within a month of each other in 1926 and disappeared. Some musicians made their way to Jackson, MS, to seek H.C. Speirs, who recorded them on his basic equipment, sent dubs to northern record companies and for the chosen, arranged their travel to sessions. Fame has little to do with quality. While Son House was a towering talent, there were other artists, no less talented, to whom fate was less kind. Their careers were brief but their work is just as vital.
|Genuine Houserockin Christmas
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GENUINE HOUSEROCKIN' CHRISTMAS features over an hours' worth of brand new holiday recordings by the brightest namesin blues and American roots music like: Marcia Ball, Koko Taylor, Michael Burks.
|35 X The 35th Anniversary Of Alligator Records (2 CD)
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This is a double-CD release that celebrates the 35th anniversary of Aligator Records. Features 35 songs (over 145 minutes of music).
Unlike many men, Alligator Records never forgets an anniversary. "The country's largest contemporary blues label," as it rightly bills itself, has released multidisc compilations celebrating its 20th, 25th, 30th, and now 35th years. For reasons that aren't entirely clear, only tracks recorded for an artist's first Alligator disc are chosen for this chronologically presented summary of music that stretches from Hound Dog Taylor's electrifying 1971 label debut to Mavis Staples's in 2004. Although the imprint made a tentative stab at reggae in the mid '80s, its roster generally upholds the "genuine houserocking music" credo Alligator has boasted as a tagline since the early days. Whether reviving the careers of blues rockers (Johnny Winter, Roy Buchanan, Lonnie Mack, Elvin Bishop) or ageing icons with plenty of gas left in their tanks (Koko Taylor, Buddy Guy, Katie Webster, Mavis Staples, James Cotton, Guitar Shorty) or finding new blood to carry on the traditions (Michael Burks, Corey Harris, Dave Hole, Tinsley Ellis, Shemekia Copeland), Alligator sets the standard for what an independent label can achieve. These 35 nuggets extracted from a catalog of 225 albums only begin to tell the label's story, but there's not a weak one in the lot. Founder Bruce Iglauer's intriguing and insightful liner notes for each act add depth to the tunes, making 35x35 a representative sampler that's also an exhilarating listening experience, and a fascinating overview of American roots music. --Hal Horowitz
|The Best Blues Album in the World...Ever!
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NEW Combo BLUWAVS CD and FLAC FILE
|The Paramount Masters 1924-1932
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The Wisconsin Chair Company was established in 1888. The business expanded into timberland and sawmills. After making cabinets for the Edison Company's phonographs, they decided to make phonographs and phonograph records, under two brand names, Puritan and Paramount. In 1919, Art Satherly was put in overall charge of recording. Paramount's early releases stayed in the mainstream, with performances of the Star Spangled Banner featuring. To defray losses, they moved into the 'race' market. In the first half of the year, they leased material from the Black Swan label. J. Mayo Williams, a young black man with connections to Black Swan, convinced Paramount that they needed him to supervise their 'race' recordings. Williams was able to parlayed himself into a pivotal role within the company, creating his own empire and eclipsing Art Satherley'. Paramount was able to embark on a recovery program that brought a wealth of valuable music. Unfortunately, for many reasons, the label never succeeded as well as it might have done. That said, Paramount saw off most of its competition when it came to recording the blues that formed the greater part of its catalogue. Other labels had varying degrees of success and but ultimately went out of business or were absorbed into larger organisations. Although it had its fair share of 'classic' blues singers such as Ida Cox, Alberta Hunter, Trixie Smith, and the magnificent Gertrude 'Ma' Rainey, the area in which Paramount held most of its riches was its comprehensive list of country blues musicians, of every sex and stripe . What this compilation seeks to do is reflect the enormous scope of country and urban blues on Paramount. It's fair to assume that most of these 100 sides sold few copies when first issued. What's indisputable more than 70 years later is the uniformly high quality of the music these men and women made before they disappeared into history's backwaters.
|Appalachian Fiddle Breakdown:30 Bluegrass Fiddle Classics
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The LEADER IN CLASSIC BLUEGRASS COLLECTIONS...
Historic AMERICAN FIDDLE MUSIC Preserved Here For FUTURE GENERATIONS !
30 Classic Bluegrass Fiddle Tunes...Many Tracks Never-Before-Available On CD
Continuing with our successful SOUND TRADITIONS Series, comes this special new 30 Song Heritage Collection title, APPALACHIAN FIDDLE BREAKDOWN which contains Authentic Traditional Fiddle Music preserved for FUTURE GENERATIONS and debuts many classic recorded songs Never-Before-Available on CD...and fun to listen too !
In the 60 s and 70 s, if you were a young fiddler living the Appalachian regions and neighboring communities you more than likely were aware of the popular 10 Volume HOE DOWN - Fiddle Tunes album series on Rural Rhythm. One young fiddler who was heavily influenced and inspired by these historic traditional Fiddle Tune albums was Mike Hartgrove, who today is the veteran fiddler with top Bluegrass group the Lonesome River Band and formerly with Doyle Lawson & Quicksilver, founding member of IIIrd Tyme Out and The Bluegrass Cardinals. As a child, Mike learned those classic fiddle tunes, many which can be found on this new FIDDLE COLLECTION, from his Dad s record album collection of HOE DOWN Fiddle Tunes on Rural Rhythm.
APPALACHIAN FIDDLE BREAKDOWN is compiled from 4 Volumes of those historic HOE DOWN Fiddle Tune albums: Volume 2 RR-154, Volume 3 RR-114, Volume 4 RR-121 and Volume 8 RR-122. These 4 Volumes contained truly authentic performances by fiddle tune specialists and champion fiddlers Mutt Poston and DeWayne Wear. This new FIDDLE COLLECTION culls 30 Classic Fiddle Tunes from these 4 Volumes including: Cotton Eyed Joe , Black Mountain Rag , Old Joe Clark , Fire On The Mountain , Run By Run , Soldier s Joy , Little Liza Jane , Mississippi Sawyer , The Irish Jig , Turkey In The Straw and twenty more.
Many of the key fiddle styles such as reels, rags (know as ragtime), hornpipes (brought from the British Isles) and jigs (brought from Ireland), are represented here on this new FIDDLE COLLECTION and gives us a nice snap shot of popular Bluegrass & Country dance tunes heard at social gatherings throughout the rural communities several years ago. These songs will sound very familiar to you, but you may not recognize all of them by the titles listed here. For example, the song Sailors Hornpipe was use as the melody for the popular cartoon Popeye and the melody for the Eighth of January was the framework for the hit single by Johnny Horton The Battle Of New Orleans ..
Each song was remastered from the original master tapes by Steve Hoffman, (a leading mastering engineer in the High End Audio market). The end results are some of the best sounding authentic Traditional Bluegrass music available today!
This new FIDDLE COLLECTION title is part of the process by which classic songs are handed down to FUTURE GENERATIONS as a part of our AMERICANA MUSIC HERITAGE. The oldest of these songs crossed the ocean in the seventeenth and eighteenth centuries, but all of them have endured, and thanks to this new collection and others in the SOUND TRADITIONS series, future generations will be introduced to this music and hand it on to their children.
|Violin, Sing The Blues For Me: African-American Fiddlers 1926-1949
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Brand: Old Hat Ent.
The guitar gets the ink, but the violin was hugely important in the development of early blues, its crying vibratos and sliding notes creating a dramatic and soulful sound. Here are 24 examples of blues violin at its best, all documented with a 32-page booklet; includes Stealin' Blues Cow Cow Davenport; Baby Please Don't Go Joe Williams' Washboard Blues Singers; Violin Blues Johnson Boys; Right Now Blues Frank Stokes; Ted's Stomp Louie Bluie & Ted Bogan; The Moore Girl Andrew & Jim Baxter; Salty Dog Booker Orchestra, and more.
Nearly essential for anyone interested in old-time music, Violin, Sing the Blues for Me may be quite simply the best single-disc anthology of the early 20th century black string-band movement available today. The emphasis here is on the bluesy fiddle playing heard between 1926 and 1949, but the music boasts reams of diverse styles and playing that is simply impossible to pigeonhole. Andrew Baxter milks his fiddle for all its plaintive worth against brother Jim's guitar on "K.C. Railroad Blues," the Mississippi Mud Steppers' "Alma Waltz" is as sublime as they come (perhaps the greatest side ever recorded to feature a banjo-mandolin), and there are plenty of other tracks featuring the now-forgotten wail of the blues violin. But the lively tunes steal the show here: the Mobile Strugglers's previously unissued "Memphis Blues" from 1949 is a classic breakdown; the Tennessee Chocolate Drops's "Vine Street Drag" (featuring the fast fiddling of Howard "Louie Bluie" Armstrong) showcases some true violin virtuosity; and the Memphis Jug Band's "Memphis Shakedown" is a tour de force of energy and great playing. Truth is, there's not a weak track here, and the copious liner notes will keep you busy long after the CD has played out. If you want to hear the roots of the blues, don't pass this disc up. --Jason Verlinde
|Essential Chicago Blues
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NEW Combo BLUWAVS CD and FLAC FILE
|Blues Masters Vol. 8: Mississippi Delta Blues
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